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"content": "\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>[aside postID='arts_13901009']Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
"headTitle": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
"content": "\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n",
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"excerpt": "Sleeping bag couture was embraced by Rihanna, A$AP Rocky, Janet Mock and more...",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
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"headline": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "That Beyoncé, Jay-Z and Basquiat Ad for Tiffany's Does Have Some Upsides, You Know",
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"content": "\u003cp>Online discourse got a little heated on Sunday and Monday over a new Tiffany & Co. ad campaign featuring Beyoncé, Jay-Z and a long-unseen Jean-Michel Basquiat painting titled \u003cem>Equals Pi\u003c/em>. The “About Love” campaign will last an entire year, hit print publications on Sept. 2, and, at some stage, will take over every digital billboard in Times Square.\u003c/p>\n\u003cp>In the first released image, Beyoncé stands in a sleek gown, presenting a modern take on Audrey Hepburn’s iconic outfit from the opening scene of \u003cem>Breakfast at Tiffany’s\u003c/em>. Behind her hangs the 1982 Basquiat masterpiece, which has been in a private collection, hidden from the world, for close to 40 years. At her side, Jay-Z reclines in an arm chair, with his locs arranged to mimic Basquiat’s signature hairstyle.\u003c/p>\n\u003cp>And while no one had anything bad to say about Beyoncé…\u003c/p>\n\u003cp>https://twitter.com/BTSOriented/status/1429717656727326726\u003c/p>\n\u003cp>Twitter was upset about a plethora of other things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/yungseafx/status/1429667087572557829\u003c/p>\n\u003cp>The Basquiat cosplaying accusations were rife…\u003c/p>\n\u003cp>https://twitter.com/MsLaFitteTweets/status/1429765208386457602\u003c/p>\n\u003cp>Plus, understandably, art lovers were perturbed that \u003cem>Equals Pi\u003c/em> was being revealed in public for the first time as part of an ad campaign.\u003c/p>\n\u003cp>https://twitter.com/ScBayScJohnson/status/1429677853252202502\u003c/p>\n\u003cp>The fact that the painting was partially obscured did not help matters.\u003c/p>\n\u003cp>https://twitter.com/Demboslice_/status/1429673868046778369\u003c/p>\n\u003cp>Questions were also raised about whether Basquiat would want his work used in such a way.\u003c/p>\n\u003cp>https://twitter.com/notoriouskpg_/status/1429810458672783362\u003c/p>\n\u003cp>And others just questioned whether art, period, should be used to decorate capitalist endeavors.\u003c/p>\n\u003cp>https://twitter.com/spoonspoon_/status/1429680587305103362\u003c/p>\n\u003cp>That’s before anyone even got into the moral questions around important art works staying hidden from the world in private collections.\u003c/p>\n\u003cp>https://twitter.com/__lukec/status/1429676847869034500\u003c/p>\n\u003cp>In the online kerfuffle, three significant aspects of the ad campaign have been largely skipped over. Those being:\u003c/p>\n\u003cp>1. Tiffany & Co’s (undoubtedly gargantuan, but currently unknown) payment to Bey and Jay for the campaign also involves a $2 million donation for scholarship and internship programs at HBCUs.\u003c/p>\n\u003cp>2. Tiffany’s has purchased \u003cem>Equals Pi\u003c/em> and plans to display it in their flagship Fifth Avenue store in New York once it has completed renovations. Which means the world will finally be able to see it, \u003cem>and\u003c/em> in a place that doesn’t charge an entrance fee.\u003c/p>\n\u003cp>3. Beyoncé is the first Black woman to ever wear the 128.54 carat Tiffany Diamond. Only three other women have ever been permitted to wear it: Mary Whitehouse, Audrey Hepburn and Lady Gaga.\u003c/p>\n\u003cp>All of which are, quantifiably, very good things.\u003c/p>\n\u003cp>Would it have been more ideal for people to first see this painting in a way that didn’t involve also trying to sell jewelry? Of course. Should Jay-Z think about getting his own hairdo? Maybe. Does it feel weird to see Basquiat’s work being used in this way? That’s up to you, but given that one of his closest collaborators in life was Andy Warhol—the person most responsible for blending high art with commercialism in the first place—it’s hard to imagine he’d mind very much. Are we all going to be sick to death of this ad campaign in six months’ time? Oh, you betcha. (Beyoncé is even going to sing “Moon River” to Jay-Z at some point, so … that’s happening.)\u003c/p>\n\u003cp>Truthfully, if anything in this whole campaign is ripe for mockery, it’s the completely unfounded assertions that Tiffany & Co. have been making about \u003cem>Equals Pi\u003c/em>‘s turquoise background. “We don’t have any literature that says [Basquiat] made the painting for Tiffany,” executive vice president of products and communications, Alexandre Arnault, told \u003ca href=\"https://wwd.com/accessories-news/jewelry/beyonce-jay-z-tiffany-ad-campaign-1234900967/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WWD\u003c/em>\u003c/a>. “My guess is that the [blue painting] is not by chance. The color is so specific that it has to be some kind of homage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If we could get a collective Twitter eyeroll for \u003cem>that\u003c/em>, that’d be marvelous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the online kerfuffle, three significant aspects of the ad campaign have been largely skipped over. Those being:\u003c/p>\n\u003cp>1. Tiffany & Co’s (undoubtedly gargantuan, but currently unknown) payment to Bey and Jay for the campaign also involves a $2 million donation for scholarship and internship programs at HBCUs.\u003c/p>\n\u003cp>2. Tiffany’s has purchased \u003cem>Equals Pi\u003c/em> and plans to display it in their flagship Fifth Avenue store in New York once it has completed renovations. Which means the world will finally be able to see it, \u003cem>and\u003c/em> in a place that doesn’t charge an entrance fee.\u003c/p>\n\u003cp>3. Beyoncé is the first Black woman to ever wear the 128.54 carat Tiffany Diamond. Only three other women have ever been permitted to wear it: Mary Whitehouse, Audrey Hepburn and Lady Gaga.\u003c/p>\n\u003cp>All of which are, quantifiably, very good things.\u003c/p>\n\u003cp>Would it have been more ideal for people to first see this painting in a way that didn’t involve also trying to sell jewelry? Of course. Should Jay-Z think about getting his own hairdo? Maybe. Does it feel weird to see Basquiat’s work being used in this way? That’s up to you, but given that one of his closest collaborators in life was Andy Warhol—the person most responsible for blending high art with commercialism in the first place—it’s hard to imagine he’d mind very much. Are we all going to be sick to death of this ad campaign in six months’ time? Oh, you betcha. (Beyoncé is even going to sing “Moon River” to Jay-Z at some point, so … that’s happening.)\u003c/p>\n\u003cp>Truthfully, if anything in this whole campaign is ripe for mockery, it’s the completely unfounded assertions that Tiffany & Co. have been making about \u003cem>Equals Pi\u003c/em>‘s turquoise background. “We don’t have any literature that says [Basquiat] made the painting for Tiffany,” executive vice president of products and communications, Alexandre Arnault, told \u003ca href=\"https://wwd.com/accessories-news/jewelry/beyonce-jay-z-tiffany-ad-campaign-1234900967/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WWD\u003c/em>\u003c/a>. “My guess is that the [blue painting] is not by chance. The color is so specific that it has to be some kind of homage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If we could get a collective Twitter eyeroll for \u003cem>that\u003c/em>, that’d be marvelous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>[aside postID='arts_13898639']“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marcella Hubbard's Purple 100th Birthday Celebration",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>arcella Hubbard has a purple house with purple flowers. A purple wardrobe and purple bedding. She used to drive a purple car, and now owns a purple cane.\u003c/p>\n\u003cp>On March 28, 2021, Marcella Hubbard wore all purple as she celebrated her 100th birthday. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>To help celebrate the occasion, I rode with my family as my mother (a neighbor of Mrs. Hubbard’s) drove in a procession of cars decorated in plum, grape, and fig colored streamers. Our parade began at Mosswood Park and ended in the parking lot of the New Hope Baptist Church in West Oakland—people honking and waving banners the whole way. Upon arrival, violet ‘Happy Birthday’ balloons were sent sunward, and lavender butterfly-shaped confetti fell to ground.\u003c/p>\n\u003cfigure id=\"attachment_13894891\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png\" alt=\"A purple "Happy 100th Birthday" banner mounted on the front of Mrs. Hubbard's house \" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A purple “Happy 100th Birthday” banner mounted on the front of Mrs. Hubbard’s house \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mrs. Hubbard, dressed in the most royal shade of purple you’ve ever seen with a fly hat to boot, stood on the far end of the parking lot waving at people. Around her, family members dressed in periwinkle tutus and pastel shirts passed out cake and packaged lunches to cars passing by.\u003c/p>\n\u003cp>Some folks, like ourselves, stopped to get a few photos and soak in the moment. When face-to-face with the lady of honor, it hit: what do you tell someone who is turning 100?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Happy birthday!” I said, before proceeding to to hide behind my camera and document the occasion.\u003c/p>\n\u003cp>Family members assembled around her. Five generations fluidly moving. No easy feat to get them organized. But in the scope of all that a matriarch and the five generations of her African American family have faced, getting together for a group photo was cake.\u003c/p>\n\u003cfigure id=\"attachment_13894895\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894895\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00086-800x535.jpg\" alt=\"Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>rs. Hubbard was born in Louisville, Mississippi, on March 28, 1921, the second oldest of a family that would eventually grow to 22 children. Her father, William James Eichelberger, and her mother, Sarah Coleman Eichelberger, had 10 children together before Sarah passed. After her father remarried, he had another dozen children.\u003c/p>\n\u003cp>Mrs. Hubbard worked on the farm, picking cotton as well as flowers—the latter of which planted a seed that’s still yielding fruit to this day.\u003c/p>\n\u003cp>“I just loved to pick violets,” Mrs. Hubbard tells me during a phone call earlier this week. “I just loved the color purple; it comes from the flowers that bloomed in the yard.”\u003c/p>\n\u003cfigure id=\"attachment_13894888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00096-800x535.jpg\" alt='Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge \"100\" sign as she celebrates her 100th birthday.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge “100” sign as she celebrates her 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1943, Mrs. Hubbard came to the Bay Area for the first time, landing a job in a factory in Sausalito during World War II; in 2014 she was honored for her work there as a \u003ca href=\"http://www.winwebnews.com/2018/03/louisville-native-received-rosie.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rosie The Riveter\u003c/a>.\u003c/p>\n\u003cp>In the mid-1900s, she traveled back and forth between the Bay Area and the south, eventually graduating from Mississippi Valley State University with a degree in education. In 1946, she married Rev. B.C. Turnipseed. The two oversaw a church in Mississippi, where equity was preached and voters were registered.\u003c/p>\n\u003cp>In 1963, after her husband died, Marcella and her only child, Angeline Eichelberger West, moved to the Bay Area permanently. First living with family on 60th Street in North Oakland, she eventually bought a home on 63rd Street, where the family has lived since the 1970s.\u003c/p>\n\u003cp>Marcella got re-married, this time to a man by the name of M. L. Hubbard. She worked a number of different jobs: in addition to being an educator, she was a seamstress, a social security administrator, and a longtime employee at a local office for the Internal Revenue Service. Active in her \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/dhs/documents/marketingmaterial/oak069507.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland community\u003c/a>, she was an early pioneer in urban gardening through her involvement with the Golden Gate Community Garden on 62nd Street.\u003c/p>\n\u003cfigure id=\"attachment_13894893\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00042-800x535.jpg\" alt=\"A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard's 100th birthday. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard’s 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She joined the New Hope Baptist Church in 1964, and through that institution has worked with young folks who were incarcerated at Juvenile Hall, off 150th Avenue in East Oakland.\u003c/p>\n\u003cp>“A lot of time they would bring the boys to the church with them, they’d give them gifts and bibles, and talk to them,” says LaTasha Mitchum, Mrs. Hubbard’s oldest grandchild. “A lot of the boys, once they got out of trouble, they’d come looking for her.”\u003c/p>\n\u003cp>Marcella Hubbard’s life has been so storied that at her 70th birthday party, family members chose parts of her life to depict in theatrical form, according to her youngest grandchild, Rasheeda West-Johnson.\u003c/p>\n\u003cp>“She is walking history,” says Rasheeda during a phone call on Monday. Rasheeda says in her grandmother’s older years, she’s been more transparent about her life’s experiences—especially as they pertain to racism.\u003c/p>\n\u003cfigure id=\"attachment_13894898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00053-800x535.jpg\" alt=\"A car celebrating Marcella Hubbard's 100th birthday crosses Martin Luther King Jr. Way in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A car celebrating Marcella Hubbard’s 100th birthday crosses Martin Luther King Jr. Way in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know that her first husband who was a preacher had to move out of Mississippi where they were because of Jim Crow, and that they were trying to lynch him because the church that they oversaw was trying to preach and teach equal rights,” says Rasheeda.\u003c/p>\n\u003cp>Because her children like to be in “grown folks’ business\u003cem>,” \u003c/em>Rasheeda has been very intentional to have the young ones present when her grandmother feels like talking.\u003c/p>\n\u003cp>“I make sure that the boys are around so that they can get firsthand knowledge of what’s going on,” says Rasheeda, questioning how much society has progressed in the decades since her grandmother was her children’s age. “I don’t even know if you’d call it an evolution… We’re still experiencing a lot of the same things. But for my children, it’s just acknowledging who she is and what she’s gone through. And having the utmost respect for her, because she’s lived a life that’s been extremely full.”\u003c/p>\n\u003cfigure id=\"attachment_13894897\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00106-800x535.jpg\" alt='A \"Happy Birthday Marcella\" sign mounted in the window of an automobile. ' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Happy Birthday Marcella’ sign mounted in the window of an automobile. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith COVID-19, the family was concerned that Mrs. Hubbard wasn’t going to be able to have the type of party that she envisioned, as she’s grown accustomed to having sizable celebrations at the end of each decade. But they managed to bring everyone together in the safest fashion possible.\u003c/p>\n\u003cp>Samauri Ware, Mrs. Hubbard’s middle grandchild, says that when they pulled up to the church last Saturday, Mrs. Hubbard kind of “bounced” out of the car. Samauri says, “It was just shocking to me. I was like, ‘She’s excited!'”\u003c/p>\n\u003cp>Up and active is how I’ve usually seen Mrs. Hubbard. Over the years I’ve talked to her through my mom’s backyard fence, as she’s often gardening, growing purple peas, purple greens and, of course, purple flowers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When we last spoke, she told me she feels great being 100. The key to success? Mrs. Hubbard says, “Well, I try to be an honest person, and I like to work and help others. And I love God.”\u003c/p>\n\n",
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"excerpt": "From her roots in Mississippi to her time as a Rosie the Riveter in WWII, Marcella Hubbard has led an incredible life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>arcella Hubbard has a purple house with purple flowers. A purple wardrobe and purple bedding. She used to drive a purple car, and now owns a purple cane.\u003c/p>\n\u003cp>On March 28, 2021, Marcella Hubbard wore all purple as she celebrated her 100th birthday. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>To help celebrate the occasion, I rode with my family as my mother (a neighbor of Mrs. Hubbard’s) drove in a procession of cars decorated in plum, grape, and fig colored streamers. Our parade began at Mosswood Park and ended in the parking lot of the New Hope Baptist Church in West Oakland—people honking and waving banners the whole way. Upon arrival, violet ‘Happy Birthday’ balloons were sent sunward, and lavender butterfly-shaped confetti fell to ground.\u003c/p>\n\u003cfigure id=\"attachment_13894891\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png\" alt=\"A purple "Happy 100th Birthday" banner mounted on the front of Mrs. Hubbard's house \" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A purple “Happy 100th Birthday” banner mounted on the front of Mrs. Hubbard’s house \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mrs. Hubbard, dressed in the most royal shade of purple you’ve ever seen with a fly hat to boot, stood on the far end of the parking lot waving at people. Around her, family members dressed in periwinkle tutus and pastel shirts passed out cake and packaged lunches to cars passing by.\u003c/p>\n\u003cp>Some folks, like ourselves, stopped to get a few photos and soak in the moment. When face-to-face with the lady of honor, it hit: what do you tell someone who is turning 100?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Happy birthday!” I said, before proceeding to to hide behind my camera and document the occasion.\u003c/p>\n\u003cp>Family members assembled around her. Five generations fluidly moving. No easy feat to get them organized. But in the scope of all that a matriarch and the five generations of her African American family have faced, getting together for a group photo was cake.\u003c/p>\n\u003cfigure id=\"attachment_13894895\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894895\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00086-800x535.jpg\" alt=\"Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>rs. Hubbard was born in Louisville, Mississippi, on March 28, 1921, the second oldest of a family that would eventually grow to 22 children. Her father, William James Eichelberger, and her mother, Sarah Coleman Eichelberger, had 10 children together before Sarah passed. After her father remarried, he had another dozen children.\u003c/p>\n\u003cp>Mrs. Hubbard worked on the farm, picking cotton as well as flowers—the latter of which planted a seed that’s still yielding fruit to this day.\u003c/p>\n\u003cp>“I just loved to pick violets,” Mrs. Hubbard tells me during a phone call earlier this week. “I just loved the color purple; it comes from the flowers that bloomed in the yard.”\u003c/p>\n\u003cfigure id=\"attachment_13894888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00096-800x535.jpg\" alt='Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge \"100\" sign as she celebrates her 100th birthday.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge “100” sign as she celebrates her 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1943, Mrs. Hubbard came to the Bay Area for the first time, landing a job in a factory in Sausalito during World War II; in 2014 she was honored for her work there as a \u003ca href=\"http://www.winwebnews.com/2018/03/louisville-native-received-rosie.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rosie The Riveter\u003c/a>.\u003c/p>\n\u003cp>In the mid-1900s, she traveled back and forth between the Bay Area and the south, eventually graduating from Mississippi Valley State University with a degree in education. In 1946, she married Rev. B.C. Turnipseed. The two oversaw a church in Mississippi, where equity was preached and voters were registered.\u003c/p>\n\u003cp>In 1963, after her husband died, Marcella and her only child, Angeline Eichelberger West, moved to the Bay Area permanently. First living with family on 60th Street in North Oakland, she eventually bought a home on 63rd Street, where the family has lived since the 1970s.\u003c/p>\n\u003cp>Marcella got re-married, this time to a man by the name of M. L. Hubbard. She worked a number of different jobs: in addition to being an educator, she was a seamstress, a social security administrator, and a longtime employee at a local office for the Internal Revenue Service. Active in her \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/dhs/documents/marketingmaterial/oak069507.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland community\u003c/a>, she was an early pioneer in urban gardening through her involvement with the Golden Gate Community Garden on 62nd Street.\u003c/p>\n\u003cfigure id=\"attachment_13894893\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00042-800x535.jpg\" alt=\"A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard's 100th birthday. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard’s 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She joined the New Hope Baptist Church in 1964, and through that institution has worked with young folks who were incarcerated at Juvenile Hall, off 150th Avenue in East Oakland.\u003c/p>\n\u003cp>“A lot of time they would bring the boys to the church with them, they’d give them gifts and bibles, and talk to them,” says LaTasha Mitchum, Mrs. Hubbard’s oldest grandchild. “A lot of the boys, once they got out of trouble, they’d come looking for her.”\u003c/p>\n\u003cp>Marcella Hubbard’s life has been so storied that at her 70th birthday party, family members chose parts of her life to depict in theatrical form, according to her youngest grandchild, Rasheeda West-Johnson.\u003c/p>\n\u003cp>“She is walking history,” says Rasheeda during a phone call on Monday. Rasheeda says in her grandmother’s older years, she’s been more transparent about her life’s experiences—especially as they pertain to racism.\u003c/p>\n\u003cfigure id=\"attachment_13894898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00053-800x535.jpg\" alt=\"A car celebrating Marcella Hubbard's 100th birthday crosses Martin Luther King Jr. Way in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A car celebrating Marcella Hubbard’s 100th birthday crosses Martin Luther King Jr. Way in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know that her first husband who was a preacher had to move out of Mississippi where they were because of Jim Crow, and that they were trying to lynch him because the church that they oversaw was trying to preach and teach equal rights,” says Rasheeda.\u003c/p>\n\u003cp>Because her children like to be in “grown folks’ business\u003cem>,” \u003c/em>Rasheeda has been very intentional to have the young ones present when her grandmother feels like talking.\u003c/p>\n\u003cp>“I make sure that the boys are around so that they can get firsthand knowledge of what’s going on,” says Rasheeda, questioning how much society has progressed in the decades since her grandmother was her children’s age. “I don’t even know if you’d call it an evolution… We’re still experiencing a lot of the same things. But for my children, it’s just acknowledging who she is and what she’s gone through. And having the utmost respect for her, because she’s lived a life that’s been extremely full.”\u003c/p>\n\u003cfigure id=\"attachment_13894897\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00106-800x535.jpg\" alt='A \"Happy Birthday Marcella\" sign mounted in the window of an automobile. ' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Happy Birthday Marcella’ sign mounted in the window of an automobile. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith COVID-19, the family was concerned that Mrs. Hubbard wasn’t going to be able to have the type of party that she envisioned, as she’s grown accustomed to having sizable celebrations at the end of each decade. But they managed to bring everyone together in the safest fashion possible.\u003c/p>\n\u003cp>Samauri Ware, Mrs. Hubbard’s middle grandchild, says that when they pulled up to the church last Saturday, Mrs. Hubbard kind of “bounced” out of the car. Samauri says, “It was just shocking to me. I was like, ‘She’s excited!'”\u003c/p>\n\u003cp>Up and active is how I’ve usually seen Mrs. Hubbard. Over the years I’ve talked to her through my mom’s backyard fence, as she’s often gardening, growing purple peas, purple greens and, of course, purple flowers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When we last spoke, she told me she feels great being 100. The key to success? Mrs. Hubbard says, “Well, I try to be an honest person, and I like to work and help others. And I love God.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Tips to Ditch Fast Fashion and Cultivate a Sustainable Closet",
"headTitle": "5 Tips to Ditch Fast Fashion and Cultivate a Sustainable Closet | KQED",
"content": "\u003cp>When fashionable clothes can be so cheap, it can be easy to fill up virtual shopping carts just for the rush of the purchase. But this attitude of excess has led to mass over-production and a clothing waste crisis.\u003c/p>\n\u003cp>“Ultimately, any item of clothing that you get rid of is going to end up in the landfill because the technological solutions just really aren’t at scale yet to do something different with it,” says Elizabeth Cline, author of \u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>.\u003c/p>\n\u003cp>Less than \u003ca href=\"https://www.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy_Summary-of-Findings_Updated_1-12-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1% of all clothing\u003c/a> material is ever recycled back into new clothes. And of the clothes we donate to charity, only a fraction gets resold in stores. Much of what doesn’t sell gets shipped in bulk and \u003ca href=\"https://slate.com/human-interest/2012/06/the-salvation-army-and-goodwill-inside-the-places-your-clothes-go-when-you-donate-them.html\" target=\"_blank\" rel=\"noopener noreferrer\">sold internationally\u003c/a>.\u003c/p>\n\u003cp>The costs of fast fashion are huge to the environment and to the people making clothes. Each year the fashion industry consumes approximately \u003ca href=\"https://www.nature.com/articles/s43017-020-0039-9).\" target=\"_blank\" rel=\"noopener noreferrer\">79 trillion liters of water and then throws out 92 million tons of waste. \u003c/a>To make clothes so quickly and affordably, factory workers are often underpaid and operate in unsafe working conditions.\u003c/p>\n\u003cp>It can make us feel powerless, as individuals, to do something about it. But there are ways to shop smarter and to curate a more eco-and ethically conscious closet. Here are some takeaways the experts recommend:\u003c/p>\n\u003ch3>1. Don’t think of your clothes as disposable.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894014 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png\" alt=\"\" width=\"774\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-768x508.png 768w\" sizes=\"(max-width: 774px) 100vw, 774px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Symphony Clarke, known as the \u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">Thrift Guru\u003c/a> on social media, has noticed that a lot of her peers feel pressure to keep up with trends online. Some even feel like they can’t post a picture in the same outfit twice. “That’s the lifespan of their clothing. Once a picture is taken, it’s done,” she says.\u003c/p>\n\u003cp>To abandon that attitude of excess, change your mindset! Buy with the notion that what you purchase should stay with you. Clarke recommends a 30-wear test: When shopping, ask yourself if you’d wear that item 30 times or more.\u003c/p>\n\u003cp>The other way to extend the lifespan of your clothing is with a little more TLC.\u003c/p>\n\u003cp>“Taking care of clothes…I think it can feed the soul. It’s just a very good life skill to have,” says Cline. (We have a \u003ca href=\"https://www.npr.org/2019/12/17/789172148/how-do-i-get-this-out-your-guide-to-stain-removal\" target=\"_blank\" rel=\"noopener noreferrer\">Life Kit episode all about getting stains out\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H7l2FAIjccU\u003c/p>\n\u003ch3>2. Revamp or “thrift flip” your clothing and accessories.\u003c/h3>\n\u003cp>Clarke established her own personal style by revamping—taking something old and changing it up. She gives clothes a fresh feel by cutting them up or adding some new details.\u003c/p>\n\u003cp>“Go in your closet and say, hey, how can I switch up this old crewneck or this old hoodie that I had? Maybe I could cut it and crop it [into] a whole different item,” Clarke suggests.\u003c/p>\n\u003cp>Watch YouTuber \u003ca href=\"https://www.youtube.com/channel/UCTeNpbcaDZWZiCPziLWkOYw\" target=\"_blank\" rel=\"noopener noreferrer\">Nava Rose\u003c/a>‘s revamps or search YouTube or TikTok for thrift revamps or thrift flips. One useful hashtag to search is #DIYnosew—so that no sewing is required.\u003c/p>\n\u003ch3>3. Get rid of your clothing responsibly.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894010 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93.jpg 1436w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Marie Kondo’s popular approach was to throw out that which no longer brought us joy. But be intentional about how you donate.\u003c/p>\n\u003cp>“It has a much, much higher chance of finding a second life [by] finding another person who’s excited to wear it,” Cline says.\u003c/p>\n\u003cp>For instance, you could organize a clothing swap with friends or sell your unneeded items on resale sites like \u003ca href=\"https://www.thredup.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ThredUp\u003c/a>, \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a>, \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://www.therealreal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Real\u003c/a>. To attract buyers, Clarke recommends modeling your clothes instead of taking a picture on the floor, so shoppers can see what it looks like on. Good lighting and ironed clothes can also boost your sales.\u003c/p>\n\u003ch3>4. Buy second-hand when you’re in the mood for something “new.”\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Since the pandemic means many people avoid extra in-person shopping, thrifting online is more and more widespread.\u003c/p>\n\u003cp>“You don’t have to have the hassle of going into the thrift store and feeling overwhelmed,” Clarke says.\u003c/p>\n\u003cp>You can buy on the same sites people sell their clothes. Apps like \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a> let you search for specific items.\u003c/p>\n\u003ch3>5. Get educated.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894011 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Learn to look out for greenwashing and campaigns for a fairer, more sustainable fashion industry.\u003c/p>\n\u003cp>“Greenwashing is when companies either intentionally mislead consumers or just oversell and embellish the efforts they’re making to be more sustainable,” Cline explains.\u003c/p>\n\u003cp>To learn more, she recommends a site called \u003ca href=\"https://goodonyou.eco/\" target=\"_blank\" rel=\"noopener noreferrer\">Good On You\u003c/a> and a nonprofit called \u003ca href=\"https://remake.world/\" target=\"_blank\" rel=\"noopener noreferrer\">Remake\u003c/a>. Remake’s \u003ca href=\"https://remake.world/wp-content/uploads/2020/11/2020-Remake-Transparency-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">transparency reports\u003c/a> give brands sustainability scores. And once you’re educated, consider getting more involved.\u003c/p>\n\u003cp>“We can’t forget that the problems in the fashion industry are systemic and that we have to have systemic solutions to these issues as well,” Cline says.\u003c/p>\n\u003cp>PayUp Fashion, a campaign Cline co-founded, pushes against exploitative practices in the fashion industry. It’s supporting \u003ca href=\"https://payupfashion.com/everything-you-need-to-know-about-californias-landmark-garment-worker-protect-act/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Garment Worker Protection Act\u003c/a>, which will hold fashion brands legally and financially accountable for what happens in their garment factories. A reminder there’s strength in numbers.\u003c/p>\n\u003cp>“This is the ultimate intersectional issue. It is the combination of race and gender and class and exploitation that [cuts] so many different ways,” Cline says.\u003c/p>\n\u003cp>But the potential for change is possible. It could lead us to a fashion future that’s better for workers, the planet, and potentially even your wardrobe.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Symphony Clarke runs her own \u003c/em>\u003ca href=\"https://www.shopthriftguru.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>revamped clothing website\u003c/em>\u003c/a>\u003cem>. You can also find her on \u003c/em>\u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.tiktok.com/@thethriftguru?lang=en&is_copy_url=1&is_from_webapp=v1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>TikTok\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://www.youtube.com/channel/UCbQuCnD-n9aNpVs4KN5V-0g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Elizabeth L. Cline is the co-founder of \u003c/em>\u003ca href=\"https://payupfashion.com/the-problem/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PayUp Fashion\u003c/em>\u003c/a>\u003cem> and author of \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/overdressed\" target=\"_blank\" rel=\"noopener noreferrer\">Overdressed: The Shockingly High Cost of Cheap Fashion\u003c/a> \u003cem>(2012) and \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>\u003cem> (2019).\u003c/em>\u003c/p>\n\u003cp>\u003cem>The podcast version of this story was produced by Fiona Geiran.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Life Kit, \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>subscribe to our newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Tips+To+Ditch+Fast+Fashion+And+Cultivate+A+Sustainable+Closet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When fashionable clothes can be so cheap, it can be easy to fill up virtual shopping carts just for the rush of the purchase. But this attitude of excess has led to mass over-production and a clothing waste crisis.\u003c/p>\n\u003cp>“Ultimately, any item of clothing that you get rid of is going to end up in the landfill because the technological solutions just really aren’t at scale yet to do something different with it,” says Elizabeth Cline, author of \u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>.\u003c/p>\n\u003cp>Less than \u003ca href=\"https://www.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy_Summary-of-Findings_Updated_1-12-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1% of all clothing\u003c/a> material is ever recycled back into new clothes. And of the clothes we donate to charity, only a fraction gets resold in stores. Much of what doesn’t sell gets shipped in bulk and \u003ca href=\"https://slate.com/human-interest/2012/06/the-salvation-army-and-goodwill-inside-the-places-your-clothes-go-when-you-donate-them.html\" target=\"_blank\" rel=\"noopener noreferrer\">sold internationally\u003c/a>.\u003c/p>\n\u003cp>The costs of fast fashion are huge to the environment and to the people making clothes. Each year the fashion industry consumes approximately \u003ca href=\"https://www.nature.com/articles/s43017-020-0039-9).\" target=\"_blank\" rel=\"noopener noreferrer\">79 trillion liters of water and then throws out 92 million tons of waste. \u003c/a>To make clothes so quickly and affordably, factory workers are often underpaid and operate in unsafe working conditions.\u003c/p>\n\u003cp>It can make us feel powerless, as individuals, to do something about it. But there are ways to shop smarter and to curate a more eco-and ethically conscious closet. Here are some takeaways the experts recommend:\u003c/p>\n\u003ch3>1. Don’t think of your clothes as disposable.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894014 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png\" alt=\"\" width=\"774\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-768x508.png 768w\" sizes=\"(max-width: 774px) 100vw, 774px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Symphony Clarke, known as the \u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">Thrift Guru\u003c/a> on social media, has noticed that a lot of her peers feel pressure to keep up with trends online. Some even feel like they can’t post a picture in the same outfit twice. “That’s the lifespan of their clothing. Once a picture is taken, it’s done,” she says.\u003c/p>\n\u003cp>To abandon that attitude of excess, change your mindset! Buy with the notion that what you purchase should stay with you. Clarke recommends a 30-wear test: When shopping, ask yourself if you’d wear that item 30 times or more.\u003c/p>\n\u003cp>The other way to extend the lifespan of your clothing is with a little more TLC.\u003c/p>\n\u003cp>“Taking care of clothes…I think it can feed the soul. It’s just a very good life skill to have,” says Cline. (We have a \u003ca href=\"https://www.npr.org/2019/12/17/789172148/how-do-i-get-this-out-your-guide-to-stain-removal\" target=\"_blank\" rel=\"noopener noreferrer\">Life Kit episode all about getting stains out\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H7l2FAIjccU'\n title='//www.youtube.com/embed/H7l2FAIjccU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2. Revamp or “thrift flip” your clothing and accessories.\u003c/h3>\n\u003cp>Clarke established her own personal style by revamping—taking something old and changing it up. She gives clothes a fresh feel by cutting them up or adding some new details.\u003c/p>\n\u003cp>“Go in your closet and say, hey, how can I switch up this old crewneck or this old hoodie that I had? Maybe I could cut it and crop it [into] a whole different item,” Clarke suggests.\u003c/p>\n\u003cp>Watch YouTuber \u003ca href=\"https://www.youtube.com/channel/UCTeNpbcaDZWZiCPziLWkOYw\" target=\"_blank\" rel=\"noopener noreferrer\">Nava Rose\u003c/a>‘s revamps or search YouTube or TikTok for thrift revamps or thrift flips. One useful hashtag to search is #DIYnosew—so that no sewing is required.\u003c/p>\n\u003ch3>3. Get rid of your clothing responsibly.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894010 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93.jpg 1436w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Marie Kondo’s popular approach was to throw out that which no longer brought us joy. But be intentional about how you donate.\u003c/p>\n\u003cp>“It has a much, much higher chance of finding a second life [by] finding another person who’s excited to wear it,” Cline says.\u003c/p>\n\u003cp>For instance, you could organize a clothing swap with friends or sell your unneeded items on resale sites like \u003ca href=\"https://www.thredup.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ThredUp\u003c/a>, \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a>, \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://www.therealreal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Real\u003c/a>. To attract buyers, Clarke recommends modeling your clothes instead of taking a picture on the floor, so shoppers can see what it looks like on. Good lighting and ironed clothes can also boost your sales.\u003c/p>\n\u003ch3>4. Buy second-hand when you’re in the mood for something “new.”\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Since the pandemic means many people avoid extra in-person shopping, thrifting online is more and more widespread.\u003c/p>\n\u003cp>“You don’t have to have the hassle of going into the thrift store and feeling overwhelmed,” Clarke says.\u003c/p>\n\u003cp>You can buy on the same sites people sell their clothes. Apps like \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a> let you search for specific items.\u003c/p>\n\u003ch3>5. Get educated.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894011 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Learn to look out for greenwashing and campaigns for a fairer, more sustainable fashion industry.\u003c/p>\n\u003cp>“Greenwashing is when companies either intentionally mislead consumers or just oversell and embellish the efforts they’re making to be more sustainable,” Cline explains.\u003c/p>\n\u003cp>To learn more, she recommends a site called \u003ca href=\"https://goodonyou.eco/\" target=\"_blank\" rel=\"noopener noreferrer\">Good On You\u003c/a> and a nonprofit called \u003ca href=\"https://remake.world/\" target=\"_blank\" rel=\"noopener noreferrer\">Remake\u003c/a>. Remake’s \u003ca href=\"https://remake.world/wp-content/uploads/2020/11/2020-Remake-Transparency-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">transparency reports\u003c/a> give brands sustainability scores. And once you’re educated, consider getting more involved.\u003c/p>\n\u003cp>“We can’t forget that the problems in the fashion industry are systemic and that we have to have systemic solutions to these issues as well,” Cline says.\u003c/p>\n\u003cp>PayUp Fashion, a campaign Cline co-founded, pushes against exploitative practices in the fashion industry. It’s supporting \u003ca href=\"https://payupfashion.com/everything-you-need-to-know-about-californias-landmark-garment-worker-protect-act/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Garment Worker Protection Act\u003c/a>, which will hold fashion brands legally and financially accountable for what happens in their garment factories. A reminder there’s strength in numbers.\u003c/p>\n\u003cp>“This is the ultimate intersectional issue. It is the combination of race and gender and class and exploitation that [cuts] so many different ways,” Cline says.\u003c/p>\n\u003cp>But the potential for change is possible. It could lead us to a fashion future that’s better for workers, the planet, and potentially even your wardrobe.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Symphony Clarke runs her own \u003c/em>\u003ca href=\"https://www.shopthriftguru.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>revamped clothing website\u003c/em>\u003c/a>\u003cem>. You can also find her on \u003c/em>\u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.tiktok.com/@thethriftguru?lang=en&is_copy_url=1&is_from_webapp=v1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>TikTok\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://www.youtube.com/channel/UCbQuCnD-n9aNpVs4KN5V-0g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Elizabeth L. Cline is the co-founder of \u003c/em>\u003ca href=\"https://payupfashion.com/the-problem/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PayUp Fashion\u003c/em>\u003c/a>\u003cem> and author of \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/overdressed\" target=\"_blank\" rel=\"noopener noreferrer\">Overdressed: The Shockingly High Cost of Cheap Fashion\u003c/a> \u003cem>(2012) and \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>\u003cem> (2019).\u003c/em>\u003c/p>\n\u003cp>\u003cem>The podcast version of this story was produced by Fiona Geiran.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Life Kit, \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>subscribe to our newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Tips+To+Ditch+Fast+Fashion+And+Cultivate+A+Sustainable+Closet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "See-Saws Built on U.S. Border Wall Win Prestigious Design Prize",
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"content": "\u003cp>An art project that turned the border wall at the U.S.-Mexico border into the temporary base for pink see-saws—inviting children on each side to come play together—has won London’s Design Museum award for best design of 2020.\u003c/p>\n\u003cp>“We are totally surprised by this unexpected honor,” \u003ca href=\"https://www.instagram.com/p/CKOTVgDhxFv/\" target=\"_blank\" rel=\"noopener noreferrer\">said Ronald Rael\u003c/a>, who designed the project with fellow architect Virginia San Fratello. They share the award, he said, with the Juarez-based art collective Colectivo Chopeke.\u003c/p>\n\u003cp>“That’s amazing,” San Fratello said in a video feed announcing the prize. The see-saw installation won both the overall prize and in the transportation category. [aside postid='arts_13862548']\u003c/p>\n\u003cp>“Most importantly, it comes at a time when we are hopeful for change and that we start building more bridges instead of walls,” Rael added.\u003c/p>\n\u003cp>“The \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year\" target=\"_blank\" rel=\"noopener noreferrer\">Beazley Designs of the Year\u003c/a> are the Oscars of the design world,” said Razia Iqbal, a journalist who chaired the Design Museum’s panel of judges. The award, she noted, highlights work that pushes boundaries of creativity and innovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The metal wall was meant to be a stark barrier dividing the U.S. and Mexico, the centerpiece of President Trump’s aggressive immigration policies. But in one spot, it became a junction point instead—a fulcrum for a series of see-saws that let children in the two countries share a playground toy.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKOTVgDhxFv/\u003c/p>\n\u003cp>The project, officially named Teeter-Totter Wall, was \u003ca href=\"https://www.npr.org/2019/07/30/746612462/see-saw-diplomacy-lets-people-play-together-along-u-s-border-wall\" target=\"_blank\" rel=\"noopener noreferrer\">first installed in July of 2019\u003c/a>, when workers slid steel beams through the slats of the border near El Paso, Texas and Ciudad Juárez, Mexico.\u003c/p>\n\u003cp>“For the first time, children from both El Paso, Texas and the Anapra community in Mexico were invited to connect with their neighbors, in an attempt to create unity at the politically divisive border,” the museum said.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael told NPR at the time. The installation went smoothly, turning an idea that had been growing for 10 years into a reality.\u003c/p>\n\u003cp>“It was peaceful and fun—a day at a park for the children and mothers of Anapra,” Rael said.\u003c/p>\n\u003cp>“The project resonated with people around the world in a way that we didn’t anticipate,” San Fratello said when the award was announced. “It speaks to the fact that most people are excited about being together, and about optimism and about possibility and the future. And the divisiveness actually comes from the minority.”\u003c/p>\n\u003cp>Rael is a professor at the University of California, Berkeley; San Fratello teaches at San José State University. [aside postid='arts_13867520']\u003c/p>\n\u003cp>The see-saw project was chosen out of more than 70 nominees from dozens of countries, including a customized \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/fashion/stormzys-stab-proof-vest\" target=\"_blank\" rel=\"noopener noreferrer\">“stab-proof vest”\u003c/a> the artist Banksy designed for musician Stormzy.\u003c/p>\n\u003cp>Also considered: the \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/graphics/3d-rendering-of-sars-cov-2\" target=\"_blank\" rel=\"noopener noreferrer\">grey and red rendering of SARS-CoV-2\u003c/a>, the coronavirus that causes COVID-19. Commissioned by the U.S. Centers for Disease Control and Prevention and designed by Alissa Eckert and Dan Higgins, the famous sphere, with its menacing clusters of crowns, won the design award in the graphics category.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Impossible Burger 2.0 won in the crowded \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/product\" target=\"_blank\" rel=\"noopener noreferrer\">product category\u003c/a>, which also included LEGO Braille bricks and a self-sanitizing door handle.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=See-Saws+Built+On+U.S.+Border+Wall+Win+Prestigious+Design+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The project, officially named Teeter-Totter Wall, was \u003ca href=\"https://www.npr.org/2019/07/30/746612462/see-saw-diplomacy-lets-people-play-together-along-u-s-border-wall\" target=\"_blank\" rel=\"noopener noreferrer\">first installed in July of 2019\u003c/a>, when workers slid steel beams through the slats of the border near El Paso, Texas and Ciudad Juárez, Mexico.\u003c/p>\n\u003cp>“For the first time, children from both El Paso, Texas and the Anapra community in Mexico were invited to connect with their neighbors, in an attempt to create unity at the politically divisive border,” the museum said.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael told NPR at the time. The installation went smoothly, turning an idea that had been growing for 10 years into a reality.\u003c/p>\n\u003cp>“It was peaceful and fun—a day at a park for the children and mothers of Anapra,” Rael said.\u003c/p>\n\u003cp>“The project resonated with people around the world in a way that we didn’t anticipate,” San Fratello said when the award was announced. “It speaks to the fact that most people are excited about being together, and about optimism and about possibility and the future. And the divisiveness actually comes from the minority.”\u003c/p>\n\u003cp>Rael is a professor at the University of California, Berkeley; San Fratello teaches at San José State University. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The see-saw project was chosen out of more than 70 nominees from dozens of countries, including a customized \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/fashion/stormzys-stab-proof-vest\" target=\"_blank\" rel=\"noopener noreferrer\">“stab-proof vest”\u003c/a> the artist Banksy designed for musician Stormzy.\u003c/p>\n\u003cp>Also considered: the \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/graphics/3d-rendering-of-sars-cov-2\" target=\"_blank\" rel=\"noopener noreferrer\">grey and red rendering of SARS-CoV-2\u003c/a>, the coronavirus that causes COVID-19. Commissioned by the U.S. Centers for Disease Control and Prevention and designed by Alissa Eckert and Dan Higgins, the famous sphere, with its menacing clusters of crowns, won the design award in the graphics category.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Impossible Burger 2.0 won in the crowded \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/product\" target=\"_blank\" rel=\"noopener noreferrer\">product category\u003c/a>, which also included LEGO Braille bricks and a self-sanitizing door handle.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=See-Saws+Built+On+U.S.+Border+Wall+Win+Prestigious+Design+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It has stood for 83 years, redundantly selling the world’s most-advertised soft drink. The Coca-Cola sign is not a symbol of San Francisco any more than the name “Oracle Park” is a symbol of San Francisco, but it’s towered over the city since 1937, visible mainly to the long line of cars slogging through Bay Bridge rush-hour traffic on the raised freeway. \u003c/p>\n\u003cp>And \u003cstrong>now it’s coming down\u003c/strong>. Crews \u003ca href=\"https://twitter.com/scottbudman/status/1320875420405755904\" rel=\"noopener noreferrer\" target=\"_blank\">began dismantling\u003c/a> the Coca-Cola sign yesterday.\u003c/p>\n\u003cp>https://twitter.com/scottbudman/status/1320875420405755904\u003c/p>\n\u003cp>After a small parade of nostalgia and two- to three-word Facebook comments lamenting its disappearance, life in San Francisco will return to normal. But even though it was of no real consequence, the Coca-Cola sign was a thing, in your range of vision, for decades. We get used to the dependable presence of these things, and when they’re gone, like any landmark, disorientation ensues. A brief news item like this appears in order to prepare you for the absence, the next time you drive past.\u003c/p>\n\u003cp>\u003cstrong>The Details\u003c/strong>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>– The 30-by-70-foot sign was \u003ca href=\"https://brokeassstuart.com/2020/10/26/sfs-iconic-electric-coca-cola-sign-is-being-removed-forever/\" rel=\"noopener noreferrer\" target=\"_blank\">erected in 1937\u003c/a>, shortly after the construction of the Bay Bridge.\u003cbr>\n– Coca-Cola is spending $100,000 to tear it down, with \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Please-don-t-tear-it-down-San-15676669.php\" rel=\"noopener noreferrer\" target=\"_blank\">no plans for preservation\u003c/a>.\u003cbr>\n– A \u003ca href=\"https://tiremeetsroad.com/2020/10/26/historic-san-francisco-coca-cola-sign-above-bryant-st-scheduled-for-removal-after-83-years-of-advertising/\" rel=\"noopener noreferrer\" target=\"_blank\">permit\u003c/a> for the sign’s removal was issued by the City of San Francisco on Oct. 20.\u003cbr>\n– Supervisor Matt Haney is \u003ca href=\"https://twitter.com/MattHaneySF/status/1320929367313108993\" rel=\"noopener noreferrer\" target=\"_blank\">trying to keep it in one piece\u003c/a>, somehow.\u003cbr>\n– \u003ca href=\"https://www.facebook.com/TommysJoynt/posts/5393433154003762\" rel=\"noopener noreferrer\" target=\"_blank\">Tommy’s Joynt is still alive\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After a small parade of nostalgia and two- to three-word Facebook comments lamenting its disappearance, life in San Francisco will return to normal. But even though it was of no real consequence, the Coca-Cola sign was a thing, in your range of vision, for decades. We get used to the dependable presence of these things, and when they’re gone, like any landmark, disorientation ensues. A brief news item like this appears in order to prepare you for the absence, the next time you drive past.\u003c/p>\n\u003cp>\u003cstrong>The Details\u003c/strong>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>– The 30-by-70-foot sign was \u003ca href=\"https://brokeassstuart.com/2020/10/26/sfs-iconic-electric-coca-cola-sign-is-being-removed-forever/\" rel=\"noopener noreferrer\" target=\"_blank\">erected in 1937\u003c/a>, shortly after the construction of the Bay Bridge.\u003cbr>\n– Coca-Cola is spending $100,000 to tear it down, with \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Please-don-t-tear-it-down-San-15676669.php\" rel=\"noopener noreferrer\" target=\"_blank\">no plans for preservation\u003c/a>.\u003cbr>\n– A \u003ca href=\"https://tiremeetsroad.com/2020/10/26/historic-san-francisco-coca-cola-sign-above-bryant-st-scheduled-for-removal-after-83-years-of-advertising/\" rel=\"noopener noreferrer\" target=\"_blank\">permit\u003c/a> for the sign’s removal was issued by the City of San Francisco on Oct. 20.\u003cbr>\n– Supervisor Matt Haney is \u003ca href=\"https://twitter.com/MattHaneySF/status/1320929367313108993\" rel=\"noopener noreferrer\" target=\"_blank\">trying to keep it in one piece\u003c/a>, somehow.\u003cbr>\n– \u003ca href=\"https://www.facebook.com/TommysJoynt/posts/5393433154003762\" rel=\"noopener noreferrer\" target=\"_blank\">Tommy’s Joynt is still alive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On 17th and Telegraph, on the backside of \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media’s\u003c/a> Oakland headquarters, there’s a mural that stretches the length of the three story building. The colorful artwork was painted by \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and shows two people: one with their fist raised to the sky wearing a shirt that says “they/them”, and another person looking calmly at you, sort of inviting you in.\u003c/p>\n\u003cp>The models for the mural are artist and musician \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">Stoney Creation\u003c/a>, and \u003ca href=\"https://www.instagram.com/yxnibrmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Brump, \u003c/a>a non-binary model, event producer and public speaker.\u003c/p>\n\u003cfigure id=\"attachment_13887640\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/MuralYRMedia-800x774.png\" alt=\"Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-800x774.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-1020x986.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-768x743.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia.png 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was familiar with both Goldsmith and Stoney Creation before, but I didn’t know Yanni until I posted a picture of the mural. A friend tagged Yanni in the post, and looking at their page, I got a glimpse into all the things they do.\u003c/p>\n\u003cp>I reached out to Yanni and learned how they went from shy, to living their life unapologetically. Now you can see them posing for Vogue, walking in New York Fashion Week, speaking at protests, using TikTok videos as a tool to teach self love and being the face of this HUGE MURAL in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13887653\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/unnamed.jpg\" alt=\"Yanni Brump\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, Yanni Brump gives us a crash course on finding the \u003cspan style=\"font-weight: 400\">courage within to trust in yourself.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8000011339\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Yanni Brump.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Bring us into your world, what are you known for?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I start to say things about me, I usually like go back to childhood… I’m the oldest of seven kids. I was raised by my grandmother. I was a second parent in my household. I feel like I have a lot of umph. And whatever I say I’m gonna do, I do it. That has a lot to do with my upbringing and how I was raised by very strong, powerful Black women. They instilled that in me… Very big energy. I’m outspoken. And you’re going to notice me and I feel like it’s for good reason that I’m that way. I feel like my purpose is to shed light on as many people as I possibly can and to bring love and to show people there’s a way to just truly and authentically be yourself. Just being me is literally helping other people just be them…\u003c/p>\n\u003cp>I started producing a queer fashion show called Limitless, which was to bring more representation in the fashion industry for queer people, trans people, black people, indigenous people.\u003c/p>\n\u003cfigure id=\"attachment_13887652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg\" alt=\"Yanni Brump walking the runway.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump walking the runway.\u003c/figcaption>\u003c/figure>\n\u003cp>And I ran with that. I took it and I was like, this needs to be brought to so many other people… who need a place to feel like they’re them. Just a space to just exist and to be their whole self. So I started doing a day party, Drip Bay Area, which was for us to have a safe space, to come to a party, but also to just be together and feel safe in our space.\u003c/p>\n\u003cp>And then I’m working with Tik Tok. I just partnered with them to do a creative learning fund where I am basically doing videos, advice, tips on self care and self love.\u003c/p>\n\u003cp>\u003cem>PEN: I’m over here smiling because you just ooze with community passion. Like anybody who knows me knows that’s what I’m about. So, when you talk about self-love, what is your definition of it?\u003c/em>\u003c/p>\n\u003cp>YANNI: Wow, OK. [laugh] Self-love is you accepting all of you wholeheartedly, unapologetically. It’s the way you look at yourself. It’s the way you think about yourself. It’s how tender you are with you, when you’re maybe not meeting your expectations. It’s how you show up for you. I’m still working on it, but I’m working on it…\u003c/p>\n\u003cp>Expressing gratitude everyday, I would say, is like one of my top things, because the flow of abundance that comes from that is out of this world. I always feel like I’m living in a state of where I can give to other people, and every day is not going to be great. But being tender with yourself and being kind and speaking nice to yourself through it – it’s so much better on the other side. [laugh] It is.\u003c/p>\n\u003cp>\u003cem>PEN: Yeah. You are greener where you water your grass. But at one point, you were shy. How did you break out of being shy to being on TikTok and on the side of a building and then all the things that you mentioned?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I was younger, I would be considered what they would say “overweight.” I was bullied. I didn’t love myself. I didn’t really know who I was. I was in denial for a really long time about my gender and my sexuality. And I had an ex-partner of mine who was doing runway, and I was super inspired by her. And she took me to a casting. I didn’t want to go at first. But at the time, I identified as a woman and they were asking for masculine women to be in the show. And so I went on a whim and they made me walk in front of all these people. And I was like scared. But I did it. I did it. I kept doing it. And it and it starts to give me a sense of confidence. To just be me on a runway in front of all these people. Didn’t matter who was looking at me, what they thought about me. I was just able to be whatever version of myself that I chose to be.\u003c/p>\n\u003cfigure id=\"attachment_13887654\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg\" alt=\"Yanni Brump\" width=\"750\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74-160x161.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>Honestly, it felt like a portal or like me jumping into another version of myself. That was when I finally felt limitless in my life. I felt like I could do whatever I wanted to do. And I think it didn’t solely come down to me. I think that it had a lot to do with my ancestors who I feel chosen by. And I know that they saw something or enough in me to actually, like, live it out. And they rejoiced. And so much joy came in my heart and I’m actually here every day pushing to do it. And I know that that made them happy, too, because I could feel it like. And I and I know that I’m doing the right thing.\u003c/p>\n\u003cp>It feels great to be like, I’m in vogue! There is a black nonbinary person there existing and I’m unapologetic. There is a black non binary person there existing and I’m unapologetic. I have a fucking tattoo on my face. I have fucking tattoos all over my fucking body. I’m not going to sit here and conform to what you want for me. I’m gonna just fucking be me. Too many people died before me for me to stop. And to not be a part of the revolution. Like, no. I feel wonderful. So I just know that it’s possible because of. I’ve done it so far, which means that I could do all of it. And I’m going to keep doing it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On 17th and Telegraph, on the backside of \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media’s\u003c/a> Oakland headquarters, there’s a mural that stretches the length of the three story building. The colorful artwork was painted by \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and shows two people: one with their fist raised to the sky wearing a shirt that says “they/them”, and another person looking calmly at you, sort of inviting you in.\u003c/p>\n\u003cp>The models for the mural are artist and musician \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">Stoney Creation\u003c/a>, and \u003ca href=\"https://www.instagram.com/yxnibrmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Brump, \u003c/a>a non-binary model, event producer and public speaker.\u003c/p>\n\u003cfigure id=\"attachment_13887640\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/MuralYRMedia-800x774.png\" alt=\"Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-800x774.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-1020x986.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-768x743.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia.png 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was familiar with both Goldsmith and Stoney Creation before, but I didn’t know Yanni until I posted a picture of the mural. A friend tagged Yanni in the post, and looking at their page, I got a glimpse into all the things they do.\u003c/p>\n\u003cp>I reached out to Yanni and learned how they went from shy, to living their life unapologetically. Now you can see them posing for Vogue, walking in New York Fashion Week, speaking at protests, using TikTok videos as a tool to teach self love and being the face of this HUGE MURAL in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13887653\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/unnamed.jpg\" alt=\"Yanni Brump\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, Yanni Brump gives us a crash course on finding the \u003cspan style=\"font-weight: 400\">courage within to trust in yourself.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8000011339\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Yanni Brump.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Bring us into your world, what are you known for?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I start to say things about me, I usually like go back to childhood… I’m the oldest of seven kids. I was raised by my grandmother. I was a second parent in my household. I feel like I have a lot of umph. And whatever I say I’m gonna do, I do it. That has a lot to do with my upbringing and how I was raised by very strong, powerful Black women. They instilled that in me… Very big energy. I’m outspoken. And you’re going to notice me and I feel like it’s for good reason that I’m that way. I feel like my purpose is to shed light on as many people as I possibly can and to bring love and to show people there’s a way to just truly and authentically be yourself. Just being me is literally helping other people just be them…\u003c/p>\n\u003cp>I started producing a queer fashion show called Limitless, which was to bring more representation in the fashion industry for queer people, trans people, black people, indigenous people.\u003c/p>\n\u003cfigure id=\"attachment_13887652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg\" alt=\"Yanni Brump walking the runway.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump walking the runway.\u003c/figcaption>\u003c/figure>\n\u003cp>And I ran with that. I took it and I was like, this needs to be brought to so many other people… who need a place to feel like they’re them. Just a space to just exist and to be their whole self. So I started doing a day party, Drip Bay Area, which was for us to have a safe space, to come to a party, but also to just be together and feel safe in our space.\u003c/p>\n\u003cp>And then I’m working with Tik Tok. I just partnered with them to do a creative learning fund where I am basically doing videos, advice, tips on self care and self love.\u003c/p>\n\u003cp>\u003cem>PEN: I’m over here smiling because you just ooze with community passion. Like anybody who knows me knows that’s what I’m about. So, when you talk about self-love, what is your definition of it?\u003c/em>\u003c/p>\n\u003cp>YANNI: Wow, OK. [laugh] Self-love is you accepting all of you wholeheartedly, unapologetically. It’s the way you look at yourself. It’s the way you think about yourself. It’s how tender you are with you, when you’re maybe not meeting your expectations. It’s how you show up for you. I’m still working on it, but I’m working on it…\u003c/p>\n\u003cp>Expressing gratitude everyday, I would say, is like one of my top things, because the flow of abundance that comes from that is out of this world. I always feel like I’m living in a state of where I can give to other people, and every day is not going to be great. But being tender with yourself and being kind and speaking nice to yourself through it – it’s so much better on the other side. [laugh] It is.\u003c/p>\n\u003cp>\u003cem>PEN: Yeah. You are greener where you water your grass. But at one point, you were shy. How did you break out of being shy to being on TikTok and on the side of a building and then all the things that you mentioned?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I was younger, I would be considered what they would say “overweight.” I was bullied. I didn’t love myself. I didn’t really know who I was. I was in denial for a really long time about my gender and my sexuality. And I had an ex-partner of mine who was doing runway, and I was super inspired by her. And she took me to a casting. I didn’t want to go at first. But at the time, I identified as a woman and they were asking for masculine women to be in the show. And so I went on a whim and they made me walk in front of all these people. And I was like scared. But I did it. I did it. I kept doing it. And it and it starts to give me a sense of confidence. To just be me on a runway in front of all these people. Didn’t matter who was looking at me, what they thought about me. I was just able to be whatever version of myself that I chose to be.\u003c/p>\n\u003cfigure id=\"attachment_13887654\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg\" alt=\"Yanni Brump\" width=\"750\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74-160x161.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>Honestly, it felt like a portal or like me jumping into another version of myself. That was when I finally felt limitless in my life. I felt like I could do whatever I wanted to do. And I think it didn’t solely come down to me. I think that it had a lot to do with my ancestors who I feel chosen by. And I know that they saw something or enough in me to actually, like, live it out. And they rejoiced. And so much joy came in my heart and I’m actually here every day pushing to do it. And I know that that made them happy, too, because I could feel it like. And I and I know that I’m doing the right thing.\u003c/p>\n\u003cp>It feels great to be like, I’m in vogue! There is a black nonbinary person there existing and I’m unapologetic. There is a black non binary person there existing and I’m unapologetic. I have a fucking tattoo on my face. I have fucking tattoos all over my fucking body. I’m not going to sit here and conform to what you want for me. I’m gonna just fucking be me. Too many people died before me for me to stop. And to not be a part of the revolution. Like, no. I feel wonderful. So I just know that it’s possible because of. I’ve done it so far, which means that I could do all of it. And I’m going to keep doing it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fashion is About to Have Its #MeToo Moment—And It’s Long Overdue",
"headTitle": "Fashion is About to Have Its #MeToo Moment—And It’s Long Overdue | KQED",
"content": "\u003cp>On Sept. 21, a former president of Elite Model Management was formally accused by four women of sexual assault. Gérald Marie ran the European arm of Elite for 25 years. Now three models—Carré Otis, Jill Dodd and Ebba Karlsson—along with journalist Lisa Brinkworth, have filed \u003ca href=\"https://nypost.com/2020/09/27/former-elite-models-boss-accused-of-raping-models/\" target=\"_blank\" rel=\"noopener noreferrer\">legal papers\u003c/a> against Marie in Paris. Marie has “categorically” denied the accusations but, like Harvey Weinstein and Bill Cosby before him, rumors across his industry have painted him as a predator for decades.\u003c/p>\n\u003cp>Dodd wrote about being raped by Marie in her 2017 memoir, \u003ca href=\"https://www.simonandschuster.com/books/The-Currency-of-Love/Jill-Dodd/9781501150388\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Currency of Love\u003c/em>\u003c/a>. Otis made similar allegations in her 2011 autobiography, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/beauty-disrupted-carre-otishugo-schwyzer?variant=32205798277154\" target=\"_blank\" rel=\"noopener noreferrer\">Beauty Disrupted\u003c/a>\u003c/em>, about events she said took place when she was 17. The detail she offered was harrowing. More recently, Otis told Lisa Brinkworth in \u003ca href=\"https://www.thetimes.co.uk/article/models-reveal-serial-sexual-abuse-behind-gloss-of-fashion-world-m50hdhxlz?wgu=270525_54264_16014038901379_56b51023a3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Times\u003c/em>\u003c/a> that, “The abuse was part of what was expected on the set from agents, photographers, stylists. If you don’t comply, you don’t work.”\u003c/p>\n\u003cp>In fact, looking at incidents reported by models and in the press as far back as the ’80s, an unhappy truth emerges: Marie is not an outlier in the industry. He is just one of several modeling executives to routinely appear connected to stories that involve inappropriate objectification at best, and sexual harassment and assault at worst.\u003c/p>\n\u003cp>An echo of Otis’ sentiment was expressed in 1988 during an \u003ca href=\"https://www.youtube.com/watch?v=CH8NAaPUvlo\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>60 Minutes\u003c/em>\u003c/a>, titled “American Girls in Paris.” In it, multiple models described exploitative and dangerous working conditions. One casually stated: “You’re there for the purpose of someone wanting to take you home to bed. [If you say no], you don’t work.” In the show, French agents including Claude Haddad from the Ford Agency and Jean-Luc Brunel of Karin Models were accused of sexual harassment and assault. [aside postid='arts_13882981']\u003c/p>\n\u003cp>Decades later, Brunel was pursued by American authorities as part of the Jeffrey Epstein sex trafficking investigation. Epstein had financed the opening of Brunel’s Miami modeling agency, MC2, in 2005. Of the professional partnership, former model Courtney Powell Soerensen told the \u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Miami Herald\u003c/em>\u003c/a> in 2019: “Brunel had access to a network of young women and it was already his proclivity to behave that way. When he connected with Epstein, they realized they could do it together. He is just as guilty if not more so than Epstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2019, one model who said she was drugged and assaulted by Brunel in 1987 gave a sworn statement to French authorities about the incident. No charges were filed because the statute of limitations had run out.\u003c/p>\n\u003cp>One Epstein survivor, \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Roberts_Giuffre\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Roberts Giuffre\u003c/a>, claimed the financier once bragged to her that he had “slept with over a thousand of Brunel’s girls.” Brunel went into hiding after Epstein’s death last year and is now so infamous in his home country he’s earned the nickname “\u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">le fantôme\u003c/a>.”\u003c/p>\n\u003cp>Gérald Marie has been similarly slippery when it comes to being held accountable for the accusations leveled against him.\u003c/p>\n\u003cp>In 1999, a BBC investigative journalist named Donal MacIntyre went undercover and attempted to expose Marie in a television documentary. Despite revelations regarding Marie’s targeting of underage models, and an initial “unconditional apology” from Elite founder John Casablancas, Elite sued the BBC for defamation. The case was later settled out of court, with the BBC publicly stating that MacIntyre’s exposé had misrepresented Elite.\u003c/p>\n\u003cp>That lawsuit effectively shut down potential legal actions against Elite, and put Casablancas back on the offensive. “People aren’t allowed to be silly at 3am in the nightclub,” he said dismissively, “or in the privacy of their own home.” Regardless, the fallout from the BBC investigation prompted both Marie and another Elite executive, Xavier Moreau, to step down from their positions. [aside postid='pop_112955']\u003c/p>\n\u003cp>Though it is Marie who has caused the most controversy at Elite over the years, a \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">2000 article for \u003cem>New York\u003c/em>\u003c/a> magazine quoted a rival fashion agent as saying: “John [Casablancas] was as bad as Gérald [Marie], but he had a more elegant manner.”\u003c/p>\n\u003cp>While Casablancas—who died in 2013—considered Marie a professional rival and was open about their fractious personal relationship, he also actively turned a blind eye to Marie’s behavior for the sake of his business.\u003c/p>\n\u003cp>Last year, Marie Anderson, who was vice president of Elite Chicago for seven years during the ’80s, told the French outlet \u003cem>\u003ca href=\"https://www.20minutes.fr/justice/2624635-20191011-jean-luc-brunel-insaisissable-ami-jeffrey-epstein-accuse-deux-cotes-atlantique\" target=\"_blank\" rel=\"noopener noreferrer\">20 Minutes\u003c/a>\u003c/em>: “It was the culture of the time, everyone knew. We thought that the only thing to do was to warn the girls.” Anderson went on to relay an incident in which one 18-year-old model called her in tears from Paris because of the coercive harassment she said she received from Marie. The model later admitted to Anderson that she had eventually given in to his sexual demands in order to get work.\u003c/p>\n\u003cp>A final straw for Anderson came after she witnessed Marie and Casablancas yelling at two of Elite’s top female executives. When Lisa Herzog and Trudi Tapscott asked Marie and Casablancas to “stop sleeping with underage models,” Casablancas is said to have told the women to “relax,” while Marie reportedly yelled: “Go screw yourselves!” Casablancas later \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s complaints\u003c/a> as an example of American puritanism. Anderson resigned. [aside postid='arts_13884214']\u003c/p>\n\u003cp>Which is all to say, women in the fashion industry have been trying to sound the alarm for decades. And yet flattering myths around these agency bosses—in particular, John Casablancas—have persisted. A 2016 Netflix documentary titled \u003ca href=\"https://www.netflix.com/title/80137087\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casablancas: The Man Who Loved Women\u003c/em>\u003c/a> works hard to hail the Elite founder as a maverick, hero and “starmaker.” This despite some jaw-dropping revelations in the film that are repeatedly glossed over.\u003c/p>\n\u003cp>In the documentary, the models in Casablancas and Marie’s midst are presented as beautiful objects to desire, use and discard. Models are seen wearing “Property of John Casablancas” T-shirts. Casablancas laughs at the memory of his father viewing his modeling agency as “a glorified brothel,” and he proudly explains that the original Elite logo “was a phallus and testicles … I loved it.”\u003c/p>\n\u003cp>More disturbing are his sexual relationships with teenagers. When Casablancas ends his marriage by beginning an affair with supermodel Stephanie Seymour, the fact that she’s 16 and he’s 42 garners only a brief mention. That “she broke [his] heart” is far more of a focus. That their break-up was prompted at least partially by an intervention from Seymour’s parents speaks volumes about the model’s immaturity at the time.\u003c/p>\n\u003cp>Later, when Casablancas talks about meeting Aline Wermelinger, a model he would marry when he was 49 and she was 17, his description of the moment is outstandingly creepy. He talks of her “baby face, green eyes and spectacular body … standing in front of us, innocent and pure.”\u003c/p>\n\u003cp>Footage of Casablancas being asked about his relationship with Wermelinger during a talk show appearance in the ’90s reveals him to be characteristically dismissive. “She comes from a country and I do too where there isn’t this fixation with age. People [in America] are obsessed with age … It’s my personal business, not yours.” [aside postid='arts_13883723']\u003c/p>\n\u003cp>Today, there are signs that small but significant shifts are afoot in fashion’s tolerance for such behavior. Emily Ratajkowski’s recent \u003ca href=\"https://www.thecut.com/article/emily-ratajkowski-owning-my-image-essay.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay for \u003cem>The Cut\u003c/em>\u003c/a>, which detailed her abuse and exploitation within the industry, garnered a refreshingly loud outcry. (If nothing else, it sent out a clear warning to any model who might consider working with photographer Jonathan Leder.)\u003c/p>\n\u003cp>In addition, \u003ca href=\"https://www.mariepanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marie Anderson\u003c/a> used her experience at Elite (as well as a number of other prominent agencies) to set up a coaching firm called \u003ca href=\"https://www.mariepanderson.com/boss-babe-models\" target=\"_blank\" rel=\"noopener noreferrer\">Boss Babes\u003c/a>. The company’s goal is to help young models navigate the industry, “while maintaining [their] purpose and dignity.”\u003c/p>\n\u003cp>Today, Gérald Marie is 70, the chairman of the Oui Management model agency and is on the defensive once again. But the Paris prosecutor’s office has confirmed it is investigating him. And the lawyer representing his accusers is also representing some of the women going after Brunel. These legal proceedings are beginning to look like a full-blown strategy, which—as the cases of Bill Cosby and Harvey Weinstein taught us—is essential if justice is ever to be served.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the buried voices of models can emerge from across the decades and shout loud enough about Marie and Brunel together, fashion might just finally get its #MeToo reckoning. Lord knows it’s long overdue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 21, a former president of Elite Model Management was formally accused by four women of sexual assault. Gérald Marie ran the European arm of Elite for 25 years. Now three models—Carré Otis, Jill Dodd and Ebba Karlsson—along with journalist Lisa Brinkworth, have filed \u003ca href=\"https://nypost.com/2020/09/27/former-elite-models-boss-accused-of-raping-models/\" target=\"_blank\" rel=\"noopener noreferrer\">legal papers\u003c/a> against Marie in Paris. Marie has “categorically” denied the accusations but, like Harvey Weinstein and Bill Cosby before him, rumors across his industry have painted him as a predator for decades.\u003c/p>\n\u003cp>Dodd wrote about being raped by Marie in her 2017 memoir, \u003ca href=\"https://www.simonandschuster.com/books/The-Currency-of-Love/Jill-Dodd/9781501150388\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Currency of Love\u003c/em>\u003c/a>. Otis made similar allegations in her 2011 autobiography, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/beauty-disrupted-carre-otishugo-schwyzer?variant=32205798277154\" target=\"_blank\" rel=\"noopener noreferrer\">Beauty Disrupted\u003c/a>\u003c/em>, about events she said took place when she was 17. The detail she offered was harrowing. More recently, Otis told Lisa Brinkworth in \u003ca href=\"https://www.thetimes.co.uk/article/models-reveal-serial-sexual-abuse-behind-gloss-of-fashion-world-m50hdhxlz?wgu=270525_54264_16014038901379_56b51023a3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Times\u003c/em>\u003c/a> that, “The abuse was part of what was expected on the set from agents, photographers, stylists. If you don’t comply, you don’t work.”\u003c/p>\n\u003cp>In fact, looking at incidents reported by models and in the press as far back as the ’80s, an unhappy truth emerges: Marie is not an outlier in the industry. He is just one of several modeling executives to routinely appear connected to stories that involve inappropriate objectification at best, and sexual harassment and assault at worst.\u003c/p>\n\u003cp>An echo of Otis’ sentiment was expressed in 1988 during an \u003ca href=\"https://www.youtube.com/watch?v=CH8NAaPUvlo\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>60 Minutes\u003c/em>\u003c/a>, titled “American Girls in Paris.” In it, multiple models described exploitative and dangerous working conditions. One casually stated: “You’re there for the purpose of someone wanting to take you home to bed. [If you say no], you don’t work.” In the show, French agents including Claude Haddad from the Ford Agency and Jean-Luc Brunel of Karin Models were accused of sexual harassment and assault. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Decades later, Brunel was pursued by American authorities as part of the Jeffrey Epstein sex trafficking investigation. Epstein had financed the opening of Brunel’s Miami modeling agency, MC2, in 2005. Of the professional partnership, former model Courtney Powell Soerensen told the \u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Miami Herald\u003c/em>\u003c/a> in 2019: “Brunel had access to a network of young women and it was already his proclivity to behave that way. When he connected with Epstein, they realized they could do it together. He is just as guilty if not more so than Epstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2019, one model who said she was drugged and assaulted by Brunel in 1987 gave a sworn statement to French authorities about the incident. No charges were filed because the statute of limitations had run out.\u003c/p>\n\u003cp>One Epstein survivor, \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Roberts_Giuffre\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Roberts Giuffre\u003c/a>, claimed the financier once bragged to her that he had “slept with over a thousand of Brunel’s girls.” Brunel went into hiding after Epstein’s death last year and is now so infamous in his home country he’s earned the nickname “\u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">le fantôme\u003c/a>.”\u003c/p>\n\u003cp>Gérald Marie has been similarly slippery when it comes to being held accountable for the accusations leveled against him.\u003c/p>\n\u003cp>In 1999, a BBC investigative journalist named Donal MacIntyre went undercover and attempted to expose Marie in a television documentary. Despite revelations regarding Marie’s targeting of underage models, and an initial “unconditional apology” from Elite founder John Casablancas, Elite sued the BBC for defamation. The case was later settled out of court, with the BBC publicly stating that MacIntyre’s exposé had misrepresented Elite.\u003c/p>\n\u003cp>That lawsuit effectively shut down potential legal actions against Elite, and put Casablancas back on the offensive. “People aren’t allowed to be silly at 3am in the nightclub,” he said dismissively, “or in the privacy of their own home.” Regardless, the fallout from the BBC investigation prompted both Marie and another Elite executive, Xavier Moreau, to step down from their positions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it is Marie who has caused the most controversy at Elite over the years, a \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">2000 article for \u003cem>New York\u003c/em>\u003c/a> magazine quoted a rival fashion agent as saying: “John [Casablancas] was as bad as Gérald [Marie], but he had a more elegant manner.”\u003c/p>\n\u003cp>While Casablancas—who died in 2013—considered Marie a professional rival and was open about their fractious personal relationship, he also actively turned a blind eye to Marie’s behavior for the sake of his business.\u003c/p>\n\u003cp>Last year, Marie Anderson, who was vice president of Elite Chicago for seven years during the ’80s, told the French outlet \u003cem>\u003ca href=\"https://www.20minutes.fr/justice/2624635-20191011-jean-luc-brunel-insaisissable-ami-jeffrey-epstein-accuse-deux-cotes-atlantique\" target=\"_blank\" rel=\"noopener noreferrer\">20 Minutes\u003c/a>\u003c/em>: “It was the culture of the time, everyone knew. We thought that the only thing to do was to warn the girls.” Anderson went on to relay an incident in which one 18-year-old model called her in tears from Paris because of the coercive harassment she said she received from Marie. The model later admitted to Anderson that she had eventually given in to his sexual demands in order to get work.\u003c/p>\n\u003cp>A final straw for Anderson came after she witnessed Marie and Casablancas yelling at two of Elite’s top female executives. When Lisa Herzog and Trudi Tapscott asked Marie and Casablancas to “stop sleeping with underage models,” Casablancas is said to have told the women to “relax,” while Marie reportedly yelled: “Go screw yourselves!” Casablancas later \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s complaints\u003c/a> as an example of American puritanism. Anderson resigned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is all to say, women in the fashion industry have been trying to sound the alarm for decades. And yet flattering myths around these agency bosses—in particular, John Casablancas—have persisted. A 2016 Netflix documentary titled \u003ca href=\"https://www.netflix.com/title/80137087\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casablancas: The Man Who Loved Women\u003c/em>\u003c/a> works hard to hail the Elite founder as a maverick, hero and “starmaker.” This despite some jaw-dropping revelations in the film that are repeatedly glossed over.\u003c/p>\n\u003cp>In the documentary, the models in Casablancas and Marie’s midst are presented as beautiful objects to desire, use and discard. Models are seen wearing “Property of John Casablancas” T-shirts. Casablancas laughs at the memory of his father viewing his modeling agency as “a glorified brothel,” and he proudly explains that the original Elite logo “was a phallus and testicles … I loved it.”\u003c/p>\n\u003cp>More disturbing are his sexual relationships with teenagers. When Casablancas ends his marriage by beginning an affair with supermodel Stephanie Seymour, the fact that she’s 16 and he’s 42 garners only a brief mention. That “she broke [his] heart” is far more of a focus. That their break-up was prompted at least partially by an intervention from Seymour’s parents speaks volumes about the model’s immaturity at the time.\u003c/p>\n\u003cp>Later, when Casablancas talks about meeting Aline Wermelinger, a model he would marry when he was 49 and she was 17, his description of the moment is outstandingly creepy. He talks of her “baby face, green eyes and spectacular body … standing in front of us, innocent and pure.”\u003c/p>\n\u003cp>Footage of Casablancas being asked about his relationship with Wermelinger during a talk show appearance in the ’90s reveals him to be characteristically dismissive. “She comes from a country and I do too where there isn’t this fixation with age. People [in America] are obsessed with age … It’s my personal business, not yours.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, there are signs that small but significant shifts are afoot in fashion’s tolerance for such behavior. Emily Ratajkowski’s recent \u003ca href=\"https://www.thecut.com/article/emily-ratajkowski-owning-my-image-essay.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay for \u003cem>The Cut\u003c/em>\u003c/a>, which detailed her abuse and exploitation within the industry, garnered a refreshingly loud outcry. (If nothing else, it sent out a clear warning to any model who might consider working with photographer Jonathan Leder.)\u003c/p>\n\u003cp>In addition, \u003ca href=\"https://www.mariepanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marie Anderson\u003c/a> used her experience at Elite (as well as a number of other prominent agencies) to set up a coaching firm called \u003ca href=\"https://www.mariepanderson.com/boss-babe-models\" target=\"_blank\" rel=\"noopener noreferrer\">Boss Babes\u003c/a>. The company’s goal is to help young models navigate the industry, “while maintaining [their] purpose and dignity.”\u003c/p>\n\u003cp>Today, Gérald Marie is 70, the chairman of the Oui Management model agency and is on the defensive once again. But the Paris prosecutor’s office has confirmed it is investigating him. And the lawyer representing his accusers is also representing some of the women going after Brunel. These legal proceedings are beginning to look like a full-blown strategy, which—as the cases of Bill Cosby and Harvey Weinstein taught us—is essential if justice is ever to be served.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the buried voices of models can emerge from across the decades and shout loud enough about Marie and Brunel together, fashion might just finally get its #MeToo reckoning. Lord knows it’s long overdue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-one-black-owned-printing-company-doubled-its-footprint-overnight",
"title": "How One Black-Owned Printing Company Doubled its Footprint Overnight",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll it took was a worldwide pandemic, nationwide protests of racial injustice and one huge purchase order to change a Black-owned East Bay clothing business—possibly forever.\u003c/p>\n\u003cp>Y’all remember the summer of 2020, right? That’s when it started. Before the natural disaster that is this election season and prior to the manmade disaster that is California’s annual wildfire season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Back when people got fed up with police brutality, groups of artists \u003ca href=\"https://www.kqed.org/news/11824301/black-lives-matter-painted-tall-on-san-francisco-streets\" target=\"_blank\" rel=\"noopener noreferrer\">painted “Black Lives Matter”\u003c/a> on the streets of major American cities and high-ranking officials from the Democratic party \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" target=\"_blank\" rel=\"noopener noreferrer\">posed for photos in Kente Cloth\u003c/a>. You recall: that bygone period in time when companies and celebrities issued \u003ca href=\"https://twitter.com/calebsaysthings/status/1269443711621947394\" target=\"_blank\" rel=\"noopener noreferrer\">vague “statements of solidarity”\u003c/a> with the Black Lives Matter movement once they realized posturing themselves on the right side of history would do well for their bottom line.\u003c/p>\n\u003cp>In the midst of all of that, a certain multinational Fortune 500 company made a politically incorrect blunder. It was so public, and the backlash so strong, that the company figured the best way to save face was to not only order a huge shipment of Black Lives Matter-inspired shirts for their employees, but also hire a Black-owned printing company to make them.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.bigprintingonline.com/bptc/shop/home\" target=\"_blank\" rel=\"noopener noreferrer\">Big Printing T-shirt Company\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13886659\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg\" alt=\"Dawaud Muhammad in the Big Printing factory in San Leandro.\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1020x538.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1536x810.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-2048x1080.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1920x1013.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawaud Muhammad in the Big Printing factory in San Leandro. \u003ccite>(Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith headquarters in San Leandro, Big Printing is the backbone to some of the most \u003ca href=\"https://www.instagram.com/bigprinting/\" target=\"_blank\" rel=\"noopener noreferrer\">prominent street brands\u003c/a> in the clothing game, all around the nation. Locally, they print \u003ca href=\"https://www.instagram.com/philthyrichfod/\" target=\"_blank\" rel=\"noopener noreferrer\">Philthy Rich’s FOD line\u003c/a>, \u003ca href=\"https://www.instagram.com/realbeedaweeda/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda’s Mackin’ & Mobbin’\u003c/a> and \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah Fab’s DOPE ERA\u003c/a>, as well as the rapper \u003ca href=\"https://www.instagram.com/cookie_money/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookie Money\u003c/a>. Threads have been assembled in their factory and landed on the backs of Snoop Dogg, Andre Ward and Marshawn Lynch.\u003c/p>\n\u003cp>But success isn’t an overnight shipment. The company has been at it for over two decades. And their origin story is about as authentically 1990s East Oakland as one can get.\u003c/p>\n\u003cp>In 1994, a 19-year-old ambitious teenager named Dawaud Muhammad was “looking for a hustle that wasn’t involved in the street life” when \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat\u003c/a>‘s footage of the \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Festival at The Lake\u003c/a> caught his eye—specifically a guy selling T-shirts.\u003c/p>\n\u003cp>Long story short: he met the guy, got some shirts wholesale and started a small business. Dawaud chose an animated brown-skinned man with a stern face and small afro as his logo. I’d go on to see the image all throughout my childhood.\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png\" alt=\"V White and Mac Dre in Big Pimpin' turf clothes.\" width=\"800\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, the company was called Big Pimpin’ Turf Clothes. There’s photos of \u003ca href=\"https://www.instagram.com/p/Bk4SSxVjKr0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">V White (formerly known as V-Dal) of the Delinquents and the late Mac Dre\u003c/a>, as well as images of \u003ca href=\"https://www.instagram.com/p/CDRd4FXnMZA/\" target=\"_blank\" rel=\"noopener noreferrer\">Master P\u003c/a>, all sporting early renditions of the gear.\u003c/p>\n\u003cp>I recall versions of the shirts that were made for specifically for Oakland neighborhoods, like the Shady 80s or the Murda Dubbs (Murder Doves). (And it was deeper than just clothing: A childhood friend of mine, Marcell (RIP), once put hands on someone for wearing the shirt of a ‘hood he wasn’t really from. Made the kid take the shirt off in the middle of Dimond Park.)\u003c/p>\n\u003cp>Along the way, Big Pimpin’ blossomed. Dawaud started out selling the shirts out of his trunk. He moved on to cultural hubs like T’s Wauzi, a record store in the Eastmont Mall. And then he landed in places like the Solano Mall, Sacramento’s Arden Fair Mall and San Leandro’s Bayfair Mall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That last location proved to be immensely important. Not just because of how popular that mall used to be back in the day, but because it was the place where Dawaud would meet Kesney, who’s now the chief financial officer of Big Printing—as well as Dawaud’s partner in marriage.\u003c/p>\n\u003cp>Kesney came from a different background than Dawaud, who grew up on 86th Avenue and Birch Street in East Oakland. She’s from the East Bay suburb of Benicia. A Howard University grad who was working in Silicon Valley, her financial management expertis. e would prove to be key.\u003c/p>\n\u003cp>With her savviness, Big Pimpin’ Turf Clothes rebranded itself as Big Printing. It also grew from a single press in Dawaud’s grandmother’s house to multiple presses.\u003c/p>\n\u003cp>Dawaud and Kesney were married at the turn of the millennium, got a loft across the street from McClymonds High School in West Oakland in 2002, and in 2004 acquired an automatic press. So in 2005, they relocated to 900 Doolittle Drive in San Leandro.\u003c/p>\n\u003cfigure id=\"attachment_13886729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1468-800x600.jpg\" alt=\"New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the acquisition of two embroidery machines, that move allowed the business to go from a 1,500-square-foot spot to a 2,500-square-foot location in the same area. Two years later they doubled in size to 5,000 square feet, still in San Leandro.\u003c/p>\n\u003cp>As the company grew, they honed the focus of their clientele: motorcycle clubs, churches and startup streetwear brands.\u003c/p>\n\u003cp>Social media, specifically Instagram and its paid ads, allowed the company to find customers from all around the country. “We found a lot more of ‘\u003cem>us\u003c/em>,'” says Dawaud, in reference to his community of African American entrepreneurs.\u003c/p>\n\u003cp>“We were happy and grateful to be a three-press shop with some embroidery,” says Kesney. “But as we began to work toward our niche market of developing brands, we began to see this need for our community.” Kesney says the business was a magnet for young African American folks who “had great vision, cool ideas and just needed a little bit of help to bring it to life.”\u003c/p>\n\u003cfigure id=\"attachment_13886731\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg\" alt=\"Kesney Muhammad checking her phone in the Big Printing reception area \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kesney Muhammad checks her phone in the Big Printing reception area. \u003ccite>( Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ontractually, Big Printing can’t reveal the name of the giant Fortune 500 company that placed the huge Black Lives Matter order. But years of doing business has led Kesney to understanding the importance of this purchase order, and how it is a step toward finding a remedy to the economic divide that exists in America.\u003c/p>\n\u003cp>Talking with her about it brought up issues I was familiar with, like the disparity in wealth between Black and white households, as well as the U.S. unemployment rate, which is always worse for African Americans than just about any other demographic. But until I talked to Kesney, I didn’t know that so few Black-owned businesses actually have employees.\u003c/p>\n\u003cp>Citing the U.S. Census 2012 Survey of Business Owners, \u003ca href=\"https://blackdemographics.com/economics/black-owned-businesses/\" target=\"_blank\" rel=\"noopener noreferrer\">BlackDemographics.com\u003c/a> reports that approximately 95% of African American businesses don’t have a staff, aside from the owner or partnership.\u003c/p>\n\u003cp>Couple that with the \u003ca href=\"https://www.nber.org/papers/w27309.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">National Bureau of Economic Research’s\u003c/a> analysis that during the early stages of COVID-19, “African-American businesses were hit especially hard, experiencing a 41 percent drop,” and you start to see how important it is for small, Black-owned businesses to be integrated into larger businesses’ supply chain.\u003c/p>\n\u003cp>Big Printing took some early licks this year when business slowed down in China, but otherwise they weren’t phased by COVID-19. If anything, the pandemic brought business to their door. “The business started to skyrocket,” says Dawaud, noting that they got a few people thanking them for simply being open.\u003c/p>\n\u003cp>But nothing was like the big order they received at the start of the summer.\u003c/p>\n\u003cp>“I don’t know anybody who’s done 100,000 shirts,” says Dawaud, proudly reflecting on the order his company fulfilled.\u003c/p>\n\u003cp>“We have a business,” says Kesney, in a grounding tone. “We work for the money that we earn. We do a damn good job for every client we go out and print. Just the chance to bid on this type of order is great for us, and well-deserved.”\u003c/p>\n\u003cfigure id=\"attachment_13886732\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1465-800x600.jpg\" alt=\"Hats being embroidered at the Big Printing HQ\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hats being embroidered at the Big Printing HQ. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After 25 years of steady growth, the giant order allowed Big Printing to increase their staff by nearly 20%, acquire new machinery and double their physical footprint, in just three weeks.\u003c/p>\n\u003cp>The beneficiaries of this investment will be the owners and employees, as well as the numerous members of the community the business serves, which is heavily African American.\u003c/p>\n\u003cp>Kesney and Dawaud understand that ripple effect. They also understand the waves of woes that Africans Americans face when it comes to inequalities, particularly economic inequality, in the United States.\u003c/p>\n\u003cp>To that, Dawaud says, “You can make a statement, or you can make a donation. But you really don’t have to go that far to make a difference. All you really have to do is go to your procurement department and ask them, ‘Are we doing any business with Black vendors?’ If not, then make a conscious effort to see about changing that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Big Printing, in the East Bay for over 25 years, is using a large corporate purchase order to invest in the Black community.",
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"title": "How One Black-Owned Printing Company Doubled its Footprint Overnight | KQED",
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"headline": "How One Black-Owned Printing Company Doubled its Footprint Overnight",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll it took was a worldwide pandemic, nationwide protests of racial injustice and one huge purchase order to change a Black-owned East Bay clothing business—possibly forever.\u003c/p>\n\u003cp>Y’all remember the summer of 2020, right? That’s when it started. Before the natural disaster that is this election season and prior to the manmade disaster that is California’s annual wildfire season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Back when people got fed up with police brutality, groups of artists \u003ca href=\"https://www.kqed.org/news/11824301/black-lives-matter-painted-tall-on-san-francisco-streets\" target=\"_blank\" rel=\"noopener noreferrer\">painted “Black Lives Matter”\u003c/a> on the streets of major American cities and high-ranking officials from the Democratic party \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" target=\"_blank\" rel=\"noopener noreferrer\">posed for photos in Kente Cloth\u003c/a>. You recall: that bygone period in time when companies and celebrities issued \u003ca href=\"https://twitter.com/calebsaysthings/status/1269443711621947394\" target=\"_blank\" rel=\"noopener noreferrer\">vague “statements of solidarity”\u003c/a> with the Black Lives Matter movement once they realized posturing themselves on the right side of history would do well for their bottom line.\u003c/p>\n\u003cp>In the midst of all of that, a certain multinational Fortune 500 company made a politically incorrect blunder. It was so public, and the backlash so strong, that the company figured the best way to save face was to not only order a huge shipment of Black Lives Matter-inspired shirts for their employees, but also hire a Black-owned printing company to make them.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.bigprintingonline.com/bptc/shop/home\" target=\"_blank\" rel=\"noopener noreferrer\">Big Printing T-shirt Company\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13886659\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg\" alt=\"Dawaud Muhammad in the Big Printing factory in San Leandro.\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1020x538.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1536x810.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-2048x1080.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1920x1013.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawaud Muhammad in the Big Printing factory in San Leandro. \u003ccite>(Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith headquarters in San Leandro, Big Printing is the backbone to some of the most \u003ca href=\"https://www.instagram.com/bigprinting/\" target=\"_blank\" rel=\"noopener noreferrer\">prominent street brands\u003c/a> in the clothing game, all around the nation. Locally, they print \u003ca href=\"https://www.instagram.com/philthyrichfod/\" target=\"_blank\" rel=\"noopener noreferrer\">Philthy Rich’s FOD line\u003c/a>, \u003ca href=\"https://www.instagram.com/realbeedaweeda/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda’s Mackin’ & Mobbin’\u003c/a> and \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah Fab’s DOPE ERA\u003c/a>, as well as the rapper \u003ca href=\"https://www.instagram.com/cookie_money/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookie Money\u003c/a>. Threads have been assembled in their factory and landed on the backs of Snoop Dogg, Andre Ward and Marshawn Lynch.\u003c/p>\n\u003cp>But success isn’t an overnight shipment. The company has been at it for over two decades. And their origin story is about as authentically 1990s East Oakland as one can get.\u003c/p>\n\u003cp>In 1994, a 19-year-old ambitious teenager named Dawaud Muhammad was “looking for a hustle that wasn’t involved in the street life” when \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat\u003c/a>‘s footage of the \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Festival at The Lake\u003c/a> caught his eye—specifically a guy selling T-shirts.\u003c/p>\n\u003cp>Long story short: he met the guy, got some shirts wholesale and started a small business. Dawaud chose an animated brown-skinned man with a stern face and small afro as his logo. I’d go on to see the image all throughout my childhood.\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png\" alt=\"V White and Mac Dre in Big Pimpin' turf clothes.\" width=\"800\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, the company was called Big Pimpin’ Turf Clothes. There’s photos of \u003ca href=\"https://www.instagram.com/p/Bk4SSxVjKr0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">V White (formerly known as V-Dal) of the Delinquents and the late Mac Dre\u003c/a>, as well as images of \u003ca href=\"https://www.instagram.com/p/CDRd4FXnMZA/\" target=\"_blank\" rel=\"noopener noreferrer\">Master P\u003c/a>, all sporting early renditions of the gear.\u003c/p>\n\u003cp>I recall versions of the shirts that were made for specifically for Oakland neighborhoods, like the Shady 80s or the Murda Dubbs (Murder Doves). (And it was deeper than just clothing: A childhood friend of mine, Marcell (RIP), once put hands on someone for wearing the shirt of a ‘hood he wasn’t really from. Made the kid take the shirt off in the middle of Dimond Park.)\u003c/p>\n\u003cp>Along the way, Big Pimpin’ blossomed. Dawaud started out selling the shirts out of his trunk. He moved on to cultural hubs like T’s Wauzi, a record store in the Eastmont Mall. And then he landed in places like the Solano Mall, Sacramento’s Arden Fair Mall and San Leandro’s Bayfair Mall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That last location proved to be immensely important. Not just because of how popular that mall used to be back in the day, but because it was the place where Dawaud would meet Kesney, who’s now the chief financial officer of Big Printing—as well as Dawaud’s partner in marriage.\u003c/p>\n\u003cp>Kesney came from a different background than Dawaud, who grew up on 86th Avenue and Birch Street in East Oakland. She’s from the East Bay suburb of Benicia. A Howard University grad who was working in Silicon Valley, her financial management expertis. e would prove to be key.\u003c/p>\n\u003cp>With her savviness, Big Pimpin’ Turf Clothes rebranded itself as Big Printing. It also grew from a single press in Dawaud’s grandmother’s house to multiple presses.\u003c/p>\n\u003cp>Dawaud and Kesney were married at the turn of the millennium, got a loft across the street from McClymonds High School in West Oakland in 2002, and in 2004 acquired an automatic press. So in 2005, they relocated to 900 Doolittle Drive in San Leandro.\u003c/p>\n\u003cfigure id=\"attachment_13886729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1468-800x600.jpg\" alt=\"New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the acquisition of two embroidery machines, that move allowed the business to go from a 1,500-square-foot spot to a 2,500-square-foot location in the same area. Two years later they doubled in size to 5,000 square feet, still in San Leandro.\u003c/p>\n\u003cp>As the company grew, they honed the focus of their clientele: motorcycle clubs, churches and startup streetwear brands.\u003c/p>\n\u003cp>Social media, specifically Instagram and its paid ads, allowed the company to find customers from all around the country. “We found a lot more of ‘\u003cem>us\u003c/em>,'” says Dawaud, in reference to his community of African American entrepreneurs.\u003c/p>\n\u003cp>“We were happy and grateful to be a three-press shop with some embroidery,” says Kesney. “But as we began to work toward our niche market of developing brands, we began to see this need for our community.” Kesney says the business was a magnet for young African American folks who “had great vision, cool ideas and just needed a little bit of help to bring it to life.”\u003c/p>\n\u003cfigure id=\"attachment_13886731\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg\" alt=\"Kesney Muhammad checking her phone in the Big Printing reception area \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kesney Muhammad checks her phone in the Big Printing reception area. \u003ccite>( Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ontractually, Big Printing can’t reveal the name of the giant Fortune 500 company that placed the huge Black Lives Matter order. But years of doing business has led Kesney to understanding the importance of this purchase order, and how it is a step toward finding a remedy to the economic divide that exists in America.\u003c/p>\n\u003cp>Talking with her about it brought up issues I was familiar with, like the disparity in wealth between Black and white households, as well as the U.S. unemployment rate, which is always worse for African Americans than just about any other demographic. But until I talked to Kesney, I didn’t know that so few Black-owned businesses actually have employees.\u003c/p>\n\u003cp>Citing the U.S. Census 2012 Survey of Business Owners, \u003ca href=\"https://blackdemographics.com/economics/black-owned-businesses/\" target=\"_blank\" rel=\"noopener noreferrer\">BlackDemographics.com\u003c/a> reports that approximately 95% of African American businesses don’t have a staff, aside from the owner or partnership.\u003c/p>\n\u003cp>Couple that with the \u003ca href=\"https://www.nber.org/papers/w27309.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">National Bureau of Economic Research’s\u003c/a> analysis that during the early stages of COVID-19, “African-American businesses were hit especially hard, experiencing a 41 percent drop,” and you start to see how important it is for small, Black-owned businesses to be integrated into larger businesses’ supply chain.\u003c/p>\n\u003cp>Big Printing took some early licks this year when business slowed down in China, but otherwise they weren’t phased by COVID-19. If anything, the pandemic brought business to their door. “The business started to skyrocket,” says Dawaud, noting that they got a few people thanking them for simply being open.\u003c/p>\n\u003cp>But nothing was like the big order they received at the start of the summer.\u003c/p>\n\u003cp>“I don’t know anybody who’s done 100,000 shirts,” says Dawaud, proudly reflecting on the order his company fulfilled.\u003c/p>\n\u003cp>“We have a business,” says Kesney, in a grounding tone. “We work for the money that we earn. We do a damn good job for every client we go out and print. Just the chance to bid on this type of order is great for us, and well-deserved.”\u003c/p>\n\u003cfigure id=\"attachment_13886732\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1465-800x600.jpg\" alt=\"Hats being embroidered at the Big Printing HQ\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hats being embroidered at the Big Printing HQ. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After 25 years of steady growth, the giant order allowed Big Printing to increase their staff by nearly 20%, acquire new machinery and double their physical footprint, in just three weeks.\u003c/p>\n\u003cp>The beneficiaries of this investment will be the owners and employees, as well as the numerous members of the community the business serves, which is heavily African American.\u003c/p>\n\u003cp>Kesney and Dawaud understand that ripple effect. They also understand the waves of woes that Africans Americans face when it comes to inequalities, particularly economic inequality, in the United States.\u003c/p>\n\u003cp>To that, Dawaud says, “You can make a statement, or you can make a donation. But you really don’t have to go that far to make a difference. All you really have to do is go to your procurement department and ask them, ‘Are we doing any business with Black vendors?’ If not, then make a conscious effort to see about changing that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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